By John Stainer
The British composer John Stainer (1840-1901) used to be organist at St Paul's Cathedral from 1872 to 1888, and in 1889 grew to become Professor of tune at Oxford. during this 3rd version of A concept of concord he ceased to name it a conception based at the tempered scale, as he had formerly. He wrote within the Preface that he now believed the speculation to be completely acceptable to the procedure of simply intonation. one more cause, in his view, was once that the angle of medical males towards sleek chromatic tune had lately better, as they can see that their method might by no means be followed so long as it threatened the life of a unmarried masterpiece of musical literature. notwithstanding, the method will be approved while it rendered such works able to extra ideal functionality. This influential Victorian textbook is now reissued for the good thing about these drawn to nineteenth-century composition and research.
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Additional resources for A Theory of Harmony: With Questions and Exercises for the Use of Students
In this form it has, of course, the appearance of an ordinary second inversion of the common chord of F. But if we attempt to fill up the 1 chord, we shall find that B and D, the —g-—^ 1— seventh and ninth of C, when heard in- w stead of the C, as annexed, do not I I disturb our notion of the key the passage is in; whil? on the other hand, the substitution of F (the derivative of the common chord of which * Ex. 36 is apparently the second inversion) for C, in the bass, sounds entirely out of place.
W—s*- r m^ I Ex. 54. MOZART. Symphony in D. No. 5. *l 102. At * Ex. 54 is the chord of the eleventh on A in its original position, but without the ninth. Ex. 55. MENDELSSOHN. +T-. J J Walpurgis Night. €? ^/ r Final Chorus. 9 &c. 1 r ^ 1I S3 103. At * Ex. 55 is the chord of the eleventh of G, including the ninth, in its original position. It commonly happens that in the case of dominant discords, the higher numerical discord resolves before the lower. Thus in Ex. 54, D, the eleventh, is resolved before G, the seventh ; 4° DOMINANT CHORDS.
Chord of 9th. ChorcTof nth. ChorcTof 13th. ) DOMINANT SERIES OF MAJOR KEYS. 6 7 8 9 Chord of 5th. Chord of 7th. Chord of 9th. Chord of nth. ) TONIC SERIES OF MINOR KEYS. 12 , 13 , , 14 11 \ri ri Chord of 5th. Chord of 7th. ) 16 Chord of 13th. Chord of 9th. Chord of nth. Chord of 13th. DOMINANT SERIES OF MINOR KEYS. 17 18 19 Chord of 5th. Chord of 7th. (Common Chord. Chord of 9th. Chord of nth. Chord of 13th. The above diagram shows the chief diatonic chords 22 TONIC CHORDS. used in music* It will be observed that there is no E in No.